Getty Images announced the final three winners of its 2005 Grants for Editorial Photography today at Visa Pour L' Image, Perpignan, France They are Balazs Gardi from Budapest, Hungary, Scott Lewis from New Jersey, USA and Kai Weidenhoefer from Berlin, Germany. Each will receive a $20,000 grant in addition to project execution support from Getty Images' team of photo editors.

Applications were received from six continents and 37 countries. Compared to the number of applications received for grants awarded in February 2005, there was an increase of more than 40% in the number of countries represented, which included, the USA, Germany, France, UK, Sweden, Spain, Russia, Australia, Brazil, China, Tanzania, South Africa, India and Egypt.

Balazs Gardi proposes to use his grant to focus on the Gypsy communities of Central and Eastern Europe. He intends to address the fears and prejudices they encounter by visiting small, previously closed Gypsy communities.

Scott Lewis will apply his grant to the continuation of his project on religion in America, addressing spiritual and secular rituals in faith communities. Lewis commented: "Winning the grant is amazing. A grant of this magnitude will enable me to spend significant time exploring a topic which requires a lot of research and the development of many relationships. At a time when religion is at the forefront of many of this country's domestic and foreign policies, it seems logical to take a step back and examine it more thoroughly."

Kai Wiedenhöfer proposes to use his grant to document Israel's construction a 650 kilometer wall to separate them from the Palestinians, exploring the related repercussions which may further intensify the tensions between the two peoples.

Grant submissions are reviewed by some of the most notable leaders in photojournalism today. Final judging concluded August 10th, 2005; the judges included Maura Foley, picture editor, The New York Times, USA, Reza, award-winning photojournalist from the Webistan Agency, France and Harald Menk, foreign photo editor, Stern Magazine, Germany.

Reza commented: "Almost all of the proposals and images submitted revealed highly professional and motivated participants. It indicated to me that we are entering a new era of photojournalism in documentary photography - more in-depth, more sensitive, more engaged. Also impressive was the deep sense of humanity exhibited in most of the submissions."

David Laidler, Getty Images' director of editorial photography commented: "Getty Images Grants for Editorial Photography support our commitment to fostering the next generation of photojournalistic talent. The grants enable photojournalists to pursue projects that are personally important to them and produce visionary new work, which can be marketed across the world."

Grant winners are given the opportunity to sign a one-year exclusive rights deal with Getty Images whereby their work will be marketed and available for licence to customers worldwide through www.gettyimages.com. The photographers will always retain copyright of their imagery.

Getty Images awards five $20,000 grants annually, totaling $100,000, to fund work by established and rising photojournalists. Applicants must submit a written proposal and portfolio.

For 2006, Getty Images has brought together a world-class judging panel, including David Burnett, photojournalist and co-founder, Contact Press Images; Giovanna Calvenzi, director of photography, Sportweek; Eliane Laffont, editorial director, Hachette Filipacchi Media; Natasha Lunn, photo editor, The New Yorker magazine; and Susan A. Smith, deputy director of photography and illustrations, National Geographic. For more information on Getty Images Grants for Editorial Photography, including application deadlines for 2006 and bios on all grant recipients and judges, please visit www.gettyimages.com/editorial-grants.

About Getty ImagesGetty Images is the world's leading creator and distributor of visual content and the first place creative professionals turn to discover, purchase and manage imagery. The company's award-winning photographers and imagery help customers create inspiring work which appears every day in the world's most influential newspapers, magazines, advertising campaigns, films, television programs, books and Web sites. Headquartered in Seattle, WA and serving customers in more than 100 countries, Getty Images believes in the power of imagery to drive positive change, educate, inform, and entertain. Visit Getty Images at gettyimages.com.

Addressing the needs of graphic communications industry and their challenges with color management, IPA, The Association of Graphic Solutions Providers has announced a three-part webinar series entitled, Controlling Color Chaos, taking place on October 6, 13, and 19.

The webinar series, produced jointly with ColorManagement.com, will demonstrate how color management is used to help print buyers and the creative community resolve color problems before it is too late. The series empowers the creative community to avoid subjective evaluations by providing them with the tools and information they need to get control of their color on press. Attendees will learn how to use cost-effective quality control tools to verify results with printers capable of meeting accurate color control standards.

The presenter, Ron Ellis, is a New England-based consultant specializing in color management, workflow training, and prepress integration. He has provided installation and training services to dealers, manufacturers, and content creators for over 20 years as well as authored numerous articles for industry publications and developed training materials for printing industry vendors.

Pricing for individual webinar is $95 / $145 (member/nonmember) or for the three-part curriculum is $255 / $385 (member/nonmember).

Companies tackling color management issues or wishing to improve their relations with creative and print customers should plan to attend the series. This program is designed for managers and customer service providers at leading graphic communications, prepress and printing companies as well as their creative customers. For more information, visit http://www.ipa.org/colorchaos or call 800-255-8141.

IPA webinar programs are an on-going educational initiative for the purpose of efficiently and cost effectively educating the graphic communications industry on the latest strategic and technical information for their business success.

Kodak ProPass Magazine is spotlighting PPA member Dwight Okumoto in their current issue. See why the call him "the hardest working man in Hawaii," as he discusses the joys and pitfalls of professional photography in an island paradise. Read the complete article here.

The North American Nature Photography Association (NANPA) is again providing an opportunity for up to ten college students to attend NANPA's Twelfth Annual Nature Photography Summit in Denver, Colorado on February 7-12, 2006.

Students qualify for scholarships via an application process including a portfolio submission. A major in art or photography is not required, but students must demonstrate their passion for nature photography to a selection committee. Applicants must be full-time students at a two or four year college, university or trade school and be at least 18 years of age by December 31, 2005. The deadline for applications is October 15th, 2005.

At the Denver Summit, students will be treated to a pre–summit photo field trip, daily sessions with professionals, portfolio reviews, time with keynote speakers and the opportunity to interact with mentors throughout the conference. The scholarship students will also be given the opportunity to explore and apply for a variety of photography internships.

NANPA is an international nature photography organization whose mission is to provide education, foster professional and ethical conduct, gather and disseminate information, and develop standards for all persons interested in the field of nature photography. NANPA also promotes nature photography as an art form and a medium of communication for the sciences, nature appreciation and environmental protection.

The Realis SX50 projector is completely designed and manufactured by Canon. The Realis SX50 projector's SXGA+ resolution images are made possible by Canon's patented proprietary AISYS (Aspectual Illumination System) technology, which achieves both the high brightness of 2,500 ANSI Lumens and a contrast ratio of 1,000:1 while also reducing projector size. At only 8.6 lbs., the Realis SX50 model is the smallest, lightest SXGA+ LCOS projector in the world.

"The new Realis SX50 multimedia projector has taken its place as Canon's premiere multimedia product equipped to satisfy a wide variety of user needs and environments," said Yukiaki Hashimoto, senior vice president and general manager of the consumer imaging group of Canon U.S.A., Inc., a subsidiary of Canon Inc. (NYSE CAJ). "Canon has advanced LCOS technology while optimizing other critical projection demands. The Realis SX50 projector delivers both high brightness and high contrast in a small size. Canon's extensive expertise in the field of optics paired with our proprietary AISYS technology has enabled us to unlock the true potential of LCOS technology."

The Realis SX50 model is designed for classrooms, boardrooms, and other mission-critical professional environments where crisp, sharp projection of text and beautiful full-motion display of 720p high-definition video is essential. Architects and engineers can now view intricate and detailed spreadsheets and CAD diagrams, professional photographers scrutinizing digital photos, or teachers and business professionals presenting visual materials and high-definition video in vibrant color with the Realis SX50 projector's 1400 x 1050 SXGA+ performance.

The projector features a genuine Canon high-performance 1.7x optical zoom lens that can project a 100-inch image on a screen from 9.8 feet away. The Realis SX50 model also displays true 16:9 720p HD broadcast images and features special 2:3 pull-down circuitry that converts interlaced 480 (NTSC) and 575 (PAL) video to progressive-scan imagery.

The Realis SX50 projector also features Multiple Image Modes that provide a wide range of options depending on user needs. These Image Modes include four Color-Preset Modes, which are designated as Standard, Presentation, sRGB, and Cinema.

The Standard mode produces images closely resembling the original input source, with an emphasis on white areas.

The Presentation mode increases contrast between bright and dark areas to make it easier to see detailed diagrams and text often used in presentations.

The sRGB mode is the color space used in most digital cameras, which is an international standard to unify color reproduction and color spaces as defined by the International Electrotechnical Commission (IEC).

The Cinema mode is the most suitable mode for projection of moving images; it emphasizes gradations to produce Realistic depth and dimension.

The Realis SX50 projector includes multiple input jacks and connectors, and can accept a wide variety of digital and analog computer-display formats. Other inputs include DVI video and all major component, composite, and S-video inputs. All connectors attach from the side of the projector housing, making for a more attractive presentation environment.

Sinar
Bron Imaging is pleased to announce the latest in the Broncolor
specialty light series, the Ringflash P and Ringflash C. Both provide
3200Ws of power, and both feature a modeling light (a Broncolor
exclusive!)

Designed for the Para FB series the Ringflash P can be moved within the umbrella, creating many different light effects.

This Ringflash P features a matching holder which allows swiveling the
lamp unit. As the focusing rod of the Para FB is passed through the
Ringflash, the light source of the giant umbrella is positioned
symmetrically to the optical axis. It allows the choice of directed
light with high contrast to extremely soft light. In comparison to a
large area lamp, the light stays constantly brilliant shrouding the
object like a cloud of light, and bringing out wonderfully the
structures.

Special features
The focusing rod of the Para FB makes it possible to achieve different
light angles. The asymmetric adjustment permits the Ringflash to swivel
to a specific angle in the optical axis, allowing for different light
characteristics.

When the Para FB is folded, it is not necessary to remove the Ringflash
P first. It is sufficient to simply move the Ringflash P in a defocused
position.
Designed for on camera use, the Broncolor Ringflash C is perfect for
fashion, still life, food and macro photography. This special lamp
creates half-shadow contours and, depending on the illumination distance these
contours are dark and broad (at a short distance) or bright and narrow
(at a long distance). The subject itself is largely free of shadow,
illuminated with slightly dark contours.

The unique holder of the Ringflash C allows the Ringflash
to swivel. The asymmetrical adjustability makes it possible to swivel
the Ringflash to a specific angle in the optical axis. The depth as
well as the inside diameter of the Ringflash permit the use of camera
lenses up to approx. 90° of the image angle (with small-format cameras
this corresponds to a focal distance of approx. 20 mm).

The light of the Ringflash reaches each spot (even hidden ones) of a
subject or a group, making it an optimal fill in light. Its hardness
makes it possible to accentuate even shadow areas on the subject’s
structure.

A honeycomb set (3 pieces) is available for the Ringflash C. These
honeycomb grids allow, in combination with the adjustable light angle,
to control the light distribution in a way that was not previously
possible. It is possible to work with gradations of brightness without
renouncing the typical “Ringflash” light.

To assure compatibility with professional camera stands, the Ringflash C holder is equipped with one ¼” and one 3/8” thread.

Be sure to wear gloves if you suspect the photos were in contaminated water.

Rinse the photos in fresh water to remove dirt.

If photos are stuck together, soak them in fresh, room-temperature water, gently agitating them until they begin to seperate and then peel them apart very slowly. Use as much water as necessary, a clean bathtub is great for large numbers of photos.

Kodak Photo Flo (available from photochemical retailers) or a small amount of biodegradable liquid soap may be added to the water to help seperate them. This will also soften the emulsion (image side) of the photo so you will have to handle them with care.

When they come apart use a squeegee to get most of the water off (a windshield wiper blade will work if you have nothing else). If you have a blotter book (also availble from photo retailers), put them in the book with weight on top of it and let them dry so that they will dry flat. If not, just let them air dry. Air drying will have some curling, but at least the images will be saved.

Thanks to Helen Yancy, Fujifilm, and H & H Color Lab for their advice on OurPPA.com.

Springfield MA – The International Association of Panoramic Photographers, IAPP, a
PPA Affiliate, announces a call for images for it’s first International
Panoramic Print competition. The winning entries will be exhibited at
the at the Valley Photo Gallery at Tower Square in Springfield MA for a
month long exhibit opening on October 8, 2005 on the first night of the
IAPP International Convention at the Springfield Marriott.

The winning prints will be eligible for a number of awards including
Blue, Red, and White ribbons and best of show in each of the
categories. Prints will also be eligible to win the prestigious
Fujifilm Masterpiece Award and or the Kodak Gallery Awards. All of the
winning images will be published on the IAPP web site.

The print exhibit opening at the Valley Photo Gallery will be open to
the public and will feature an Oktoberfest theme. There will be a
silent auction and a book signing by IAPP writer/publishers who will be
signing copies of their books on Panorama photography. Light
refreshments will be served.

ROCHESTER, N.Y., Sept. 2 --
Eastman Kodak Company announced a $500,000 contribution to the American
Red Cross’ Disaster Relief Fund to support rescue and recovery efforts for
survivors of Hurricane Katrina in Louisiana and other states.

“On behalf of Kodak employees locally and across the country, we are
responding to the devastation left by Hurricane Katrina with this cash
donation from Kodak to the American Red Cross Disaster Relief Fund,” said
Brown. “As recovery efforts continue, we are looking at the best ways our
products and services can assist efforts in the region.”

As rescue and recovery efforts continue, Kodak is exploring ways in which its
products may be useful in assessing damage and treating survivors. Kodak will
communicate with federal emergency agencies to determine how such products
might best serve their needs.

Kodak has a long history of assisting in relief efforts with both cash
donations and needed materials. Kodak made similar contributions to the 2001
World Trade Center relief effort and the Tsunami relief efforts of late 2004.

Individuals wishing to make contributions to the Hurricane Katrina relief
effort may do so through the Red Cross by visiting
www.RedCross.org.